郭七里

我要去拜訪青年建筑設(shè)計師戚山山。

山山少年時赴海外求學(xué)，歷時15年，從美國哥倫比亞大學(xué)讀到哈佛大學(xué)，接受了一系列建筑教育；然后去建筑師事務(wù)所工作，完成了諸多作品；再然后選擇回到杭州，建立了STUDIO QI建筑事務(wù)所，又做了許多作品，還在兩所高校進(jìn)行教學(xué)實踐。

這樣豐富的經(jīng)歷，讓我在拜訪前預(yù)設(shè)了許多話題，比如關(guān)于東西方建筑設(shè)計理念的不同，關(guān)于東西方文化的差異和交融。但是在真正見到山山之后，發(fā)現(xiàn)預(yù)設(shè)的話題太過割裂和分明，因為在她身上，就如建筑設(shè)計這門典型的交叉學(xué)科一樣，許多文化因子很合諧地共存著。

建筑師是什么

戚山山不只是建筑設(shè)計師。這是我對她的第一印象。

她的STUDIO QI建筑事務(wù)所會客廳里，最顯眼的是一整面墻的書架?？看傲⒅囊淮髩K展示板上的設(shè)計圖紙，標(biāo)示著這是一個建筑事務(wù)所。

我以為書架上面會有許多關(guān)于建筑的書，然而并不是。除了原版藝術(shù)類書籍外，更多是歷史、哲學(xué)、文學(xué)、游記以及人物傳記類書，關(guān)于建筑的，很少。間或夾雜的建筑設(shè)計獲獎證書，表明了這里主人的身份。

桌子上放著三本小冊子，分別是散文、小說和有關(guān)美學(xué)的論述。很新，顯然是剛買來還未來得及上架。我在等待她的過程中信手翻看著。

戚山山將手頭的工作告一段落，匆匆趕來，落座。我問她，這些書都是你的嗎？她說，是的。對于我的問題，顯然她有些意外——也許在她看來，閱讀是一種本能，是補(bǔ)充認(rèn)知的最有效手段。

將這一想法付諸行動的，是她在中國美術(shù)學(xué)院的教學(xué)實踐。

“在做畢業(yè)設(shè)計之前，我要求大家寫小說?！?/p>

“寫小說？為什么？這和畢業(yè)設(shè)計有關(guān)系嗎？”

“我覺得很有關(guān)系。在教學(xué)過程中我發(fā)現(xiàn)，很多學(xué)生嚴(yán)重脫離現(xiàn)實生活，甚至不知道為什么而活著，活著又是為了什么。這就造成，他們設(shè)計的作品與生活無關(guān)，甚至連基本的使用功能也無法實現(xiàn)。我讓他們寫小說，就是寫生活，寫不出來，就先去熟悉生活?！鄙缴竭@么認(rèn)為：只有熟悉之后才能理解生活，繼而升華，天馬行空地生活出自己的小世界。于是，就有學(xué)生第一次好好逛了逛大型超市，回來說，哦，和我想象的不一樣。

一篇篇或長或短的小說完成了，關(guān)于對生活的思考也漸漸深入，“做什么、怎么做”的設(shè)計理念也在慢慢形成。山山有點(diǎn)小激動：我覺得這個方法可行，如果下一次帶畢業(yè)生，我還是會推行這樣的教學(xué)方式。

設(shè)計師首先是個會生活的人，然后再去創(chuàng)造更好的生活。這就是山山的理解，也是她想教會學(xué)生的最重要一點(diǎn)：先學(xué)做人。

為什么很多時候，我們會認(rèn)為一些設(shè)計作品“不是給人用的”，根本原因就在于設(shè)計師的“不食人間煙火”。

在對待生活這件事上，戚山山一點(diǎn)也不馬虎，她是一個將設(shè)計融入生活的人。

為人師的時候，她這么引導(dǎo)學(xué)生；做設(shè)計師的時候，她這么去創(chuàng)造作品。她一直在進(jìn)行的中國老字號餐廳設(shè)計實踐，可以看作是一個完整地體現(xiàn)了她的設(shè)計思想的載體。

在給寧波的老字號“缸鴨狗”設(shè)計店面時，她采用了“黑白元素、正圓正方”的理念。不光是室內(nèi)設(shè)計和空間策劃，還整體設(shè)計了品牌VI，連帶餐具桌椅都一并做了設(shè)計。

戚山山特意找來一只專為“缸鴨狗”設(shè)計的盛放湯團(tuán)的碗給我看。近乎球形的碗，胖胖的，很可愛，切去一角的碗口，可以露出其中盛放的內(nèi)容?！芭踔@樣的碗吃飯，孩子的食欲都會大開?！蹦且豢蹋缴搅髀冻隽撕⒆託獾男θ?。

設(shè)計，畢竟是為生活服務(wù)的，源自生活又回歸于此。

建筑是什么

戚山山關(guān)注的不只是建筑。這是我對她的第二印象。

曾經(jīng)有這么一段話描寫她：在戚山山的內(nèi)心，建筑甚至都不是她的職業(yè)，而是一種思維方式、是一系列的邏輯生成，它是一個載體，融合了金融圈、藝術(shù)圈、社會圈等方方面面，吸收、包容一切，透過這個載體，你能夠發(fā)現(xiàn)和洞察社會現(xiàn)象。

我覺得這段話恰如其分。

只要深入了解戚山山那么一點(diǎn)點(diǎn)，你會驚嘆，她學(xué)的、會的和將要去學(xué)的東西非常多，輕盈而瘦小的身體里蘊(yùn)藏著巨大的能量，

15年的國外求學(xué)經(jīng)歷，仿佛開了掛。戚山山用“能量場”來形容紐約，這是一座影響了她的人生的城市。她在這里學(xué)習(xí)藝術(shù)、政治、經(jīng)濟(jì)、人文、哲學(xué)、建筑、舞蹈……平均每天睡眠時間不超過四五個小時?；貒倪@幾年，除了考上中國美術(shù)學(xué)院建筑學(xué)院院長、普利茲克獎獲得者王澍的博士生，她同時師從著名書法家王冬齡。

她所學(xué)的那許許多多東西，最后都融入了她的思想，進(jìn)入了作品。

她和我聊關(guān)于江南水鄉(xiāng)古鎮(zhèn)的保護(hù)和改建問題。為什么很多人會覺得改建過的古鎮(zhèn)都長得一個樣呢，甚至連小鎮(zhèn)上賣的特產(chǎn)也都像是同一家作坊做出來的？

因為許多人只是看見了小鎮(zhèn)的外殼，而沒有看清內(nèi)涵。所以保護(hù)的只是一個外殼，缺少了靈魂。

于是她就去西塘設(shè)計了“九舍”這個民宿作品。這是她回國后的第14號作品，也是作為獨(dú)立設(shè)計師過程中比較重要的一個節(jié)點(diǎn)。在這個作品里，她深刻地研究了江南水鄉(xiāng)的特質(zhì)，她把這種特質(zhì)形容為“基因”，是什么樣的基因決定了西塘是江南水鄉(xiāng)的小鎮(zhèn)？在透徹分析后，她將這種小橋、流水、人家?guī)淼孽r活生動的親切感，放到了“九舍”里。由此，“九舍”里有江南街巷的逼仄感和故事性，也有庭院的通透。

她將這種思維方式歸于受過的十多年高等教育。這些教育中很重要的一點(diǎn)是，激發(fā)和教會人追根究底的欲望和能力。由此而得到的，是對事物本質(zhì)的探究。

因此，當(dāng)一所民宿具有了基本的江南特質(zhì)后，她再在其中輕巧地嵌入了現(xiàn)代元素和新型建筑材料，比如說大落地玻璃，為的是將明媚的陽光引入較為潮濕的江南住宅的內(nèi)部。

“九舍”民宿的成功，使得戚山山的建筑思辨能力和設(shè)計邏輯更為成熟。這種成熟的設(shè)計思維更多地表現(xiàn)在了某些方面——她這一年多的時間里，正在進(jìn)行一項復(fù)雜而漫長的工程，在麗江至拉薩近2000公里的滇藏線上，建立13座體現(xiàn)不同民族文化、尊重不同自然地貌的精品民宿。

從照片上看，這些民宿既繼承了傳統(tǒng)建筑，又帶入了現(xiàn)代生活的舒適性?！白鳛槿祟?，我們一直在挑戰(zhàn)不可及，人類已經(jīng)能夠在遠(yuǎn)離地球的太空艙內(nèi)舒適地生活，但不少高原的居住條件還比較粗糙，而我們的模塊房在很多層面都是相當(dāng)高級和精確的，代表世界一流水平，可以說是第一次把真正的科學(xué)舒適性帶入了藏區(qū)高原，并且又很好地藏入傳統(tǒng)建筑中，與信仰、文化、村落、自然相融合。在我眼里，這也是一次登月，把人類帶入‘不可及的成功，代表的是真正的可能性與當(dāng)代性。”這是戚山山在談到滇藏線上松贊然烏山居的感受。

然烏山居海拔4000米，是滇藏線計劃中海拔最高的酒店。為了克服高海拔施工的難題，突破性地采用了模塊房設(shè)計：三層的LOW-E玻璃、丹麥進(jìn)口的地暖、“魚躍”提供的中央分子篩供氧技術(shù)……各種先進(jìn)的科技元素匯集到了這個古老的村落中。

而對藏族古村落錯高村的搬遷，戚山山則是盡可能地將原有建筑肌理保留下來，以保持村落的自然面貌。

品讀一座建筑，就如同閱讀一本書，每一個閱讀的人都有不同的感受，甚至是能延伸出設(shè)計師（寫作者）自己都意料不到的效果。

所以我讀戚山山的設(shè)計作品，讀出的是“透明”二字。無論是早年她在黃河邊的作品、西塘九舍民宿，還是正在進(jìn)行中的滇藏線系列作品，中國老字號餐廳設(shè)計系列，甚至是曾經(jīng)的工作室老和山辦公地，我都看到了“透明”在其中的運(yùn)用。

而透明也早已成為現(xiàn)代建筑的特征之一。60多年前建筑學(xué)家柯林·羅在他的《透明性》一書中將這種特質(zhì)系統(tǒng)化和概念化的時候，意味著人們對現(xiàn)代建筑的解讀也多了一種方式?；貧w當(dāng)下，透明性更是一種社會化，打破了人與建筑、人與人、人與自然之間的界限。

所以在采訪結(jié)束時，我問了戚山山一個問題：你是不是特別喜歡采用玻璃這個材料？她一愣：似乎沒有吧。不過，我喜歡陽光。不是嗎，一所屋子，不應(yīng)該是充滿著陽光和空氣的地方嗎？

Before I visited young architect Qi Shanshan， I prepared a list of questions I would like to ask her. I wanted to be prepared because Qi is an architect with a fifteen-year experience of studying overseas， a journey she started at Columbia University and Harvard University as an architecture major and then worked as an architect with a perfect track record. After she returned to her hometown Hangzhou， she set up Studio Qi， her own business firm. She has done a few design projects. She also teaches at two higher-education institutions. The list of questions I prepared included topics such as the disparity in architectural philosophies between the east and the west and the cultural difference and integration of the east and the west.

As soon as I saw her， I became aware that the prepared questions were too two dimensional. I found that so many cultural elements， which might seemingly conflict each other in other people， exist in her peacefully and harmoniously， just like architecture， a discipline that presents a wide range of knowledge from diverse sources.

After stepping into the meeting room of Studio Qi， my first impression of Qi Shanshan was， she was more than an architect. The most eye-catching feature of the room was a long range of bookshelves that covered a whole wall. Only a design on a drawing board by a window indicated that it was an architect firm.

To my surprise， books on the shelves were largely history， philosophy， literature， travel， and biographies. There were not so many books about architecture. Only a few award certificates identified Qi as an architect.

She stepped into the room in a hurry. Apparently she had just put an end to some work at hand. I asked， “Are all these books yours？” She looked surprised about the question. Yes， these books are hers. She believes reading is almost an instinct. She considers reading as the most effective way of supplementing the readers understanding of the world. She has put this idea to practice in her teaching at China Academy of Art.

“I ask my students to write a short story before they do their graduation design，” she offered. “I believe this is significantly relevant. Ive found that some students are totally divorced from real life. Some even dont know why we live and what we should strive for in our lives. Lacking this awareness renders their designs purposeless and irrelevant about life. Some designs dont even provide essential functions. I believe writing a short story means writing about life. If you cant write about life， you need to get yourself familiarized with life. When she first tried this approach with her students， they decided to take it seriously. Some students went into a mega shopping mall and did a thorough field study. They reported that the mall in real life differed from what they had previously imagined. They wrote stories and their understanding of real life deepened to various degrees. They came to know what to do and how to achieve the original thought.

Qis enthusiasm pulsated when she recalled this teaching experience. She said she would apply the same approach the next time she taught senior students. “Understanding how to live well is the very first priority for an architect. You need to understand life before you can help create a better life.” Qi emphasized. She said the most important thing her students should learn was to be a good human being. When we see some architectural failures， some of us would go to extremes to describe them as “designed not for human beings”. One of the reasons of these shameful disasters was， according to Qi Shanshan， because an architect blindly disregards the essences of everyday life in this world as if he didnt know anything about this life in this world.

My second impression of Qi Shanshan was that she concerns herself with quite a lot beyond architecture. In her understanding of herself， architecture is not even her profession. To her， architecture is a way of thinking， a way of generating a complete system of logics， a vehicle that integrates finance， art， and society. Through architecture， you find and examine a lot of social phenomena.

Her fifteen-year overseas experience has shaped her worldview. Her life in New York has influenced her life： the city opened her eyes to art， politics， economy， culture， philosophy， architecture and dancing. Living in New York， she worked hard to absorb and she slept no more than five hours a night. After her return to China， she has taken up a doctoral course under the tutelage of Wu Shu， the dean of the School of Architecture of China Academy of Art and the first Chinese citizen to win the Pritzker Prize， the worlds top prize in architecture. She has been taking lessons on Chinese calligraphy from Wang Dongling， a calligraphy master of national renown at the same academy.

What she has learned in New York and in Hangzhou and from her professional practices find their ways into her designs： it has been so over the past and will be so in the future.

During our conversation， she talked about the preservation and refurbishment of ancient river towns in Jiangnan or the south of the Yangtze River Delta. One of the defects in the new efforts is that some towns look disturbingly similar and that even souvenirs and special products look like products from the same workshop. In her opinion， such disheartening similarities result from a lack of insight into the soul and into the cultural essences of these towns. What have got preserved are largely superfluous things on the surface.

Jiushe， a hotel she designed for Xitang， an ancient canal town in the northeast of Zhejiang， embodies her exploration of the river town essences. It is her project number 14 after her return from overseas. And it is a key design in her career as an independent architect. She conducted a thorough study of the characteristics of river towns in this region and referred them as genes of the architectural style. After a detailed analysis， she reproduced these genes in the design of the hotel. The architecture relates local stories and embodies the spatial closeness and narrowness. Moreover， the hotel also highlights the transparence and openness of a courtyard. She ascribed this way of thinking to the advanced studies she has taken over past ten plus years.

In this project， she also introduced modern elements and new construction materials. Take the floor-to-ceiling glass for instance. The glass let sunshine into the rooms to remove moisture caused by the local climate.

The successful Jiushe project has sharpened her architectural thinking and added a good touch to her designing logic. These better ideas are going into her new project： she has been designing a total of 13 hotels in different locations along a 2，000-km-long Yunnan to Tibet route in the southwest of China. The project has been going on for more than a year and is not yet completed.

“We human beings have been challenging the impossible all the time. We can live comfortably in space capsules far away from the earth. Yet we have rather backward living conditions on the planet. Our model houses are world-class. They are the first introduction of science and comfort into the Tibetan Plateau. Meanwhile， we preserve the Tibetan traditional architecture in design， integrating religion， culture， local residence and nature. In my eye， this is indeed equal to a landing on the moon. It turns the impossible to success and represents the real possibility and modernity，” enthused the architect.

After viewing some of Qis architectural designs， I noticed an outstanding feature of her designs： she is a master of transparency. That was why I asked toward the end of our conversation if glass was her favorite building material. My question surprised her. “I dont think so，” she replied hesitatingly. “But I like sunshine. A house should be a space full of sunlight and air！”